*the ‘frozen’,… —as opposition to the turbulence of movement. … —on the origins *(—the… precipitation) of the ‘mirror stage’. …

– LACAN & (THE QUESTION OF) THE “REAL” –
*(—a reading group).

Why Lacan & why the real… —? —Introduction to the reading group.

Introduction to Lacan: notes from a lecture.

Outline of a reading of ‘The Mirror Stage’.

Mirror Stage I.—the infant, the mirror, & the nature of the image.

Mirror Stage II.—‘space fear’, & the ‘ideal’. (part (i).)

Mirror Stage II.—‘space fear’, & the ‘ideal’. (part (ii).): Nietzsche on the intellect, language, the ‘I’ as fiction, and ‘intuition’.

Mirror Stage II.—‘space fear’, & the ‘ideal’. (part (iii).): the Undivided Continuity of States. —‘analysis’, ‘duration’ & ‘intuition’ in Bergson.

Mirror Stage II.—‘space fear’, & the ‘ideal’. (part (iv).): language, ‘intuition’ & flux in Nietzsche & Bergson, & the fiction of the ‘I’ in Lacan.

 

*the ‘frozen’,… —as opposition to the turbulence of movement.
(—on the origins *(—the… precipitation) of the ‘mirror stage’). …

[…] *freezes it and in a symmetry that reverses it, in opposition to the *|turbulent movements| with which the subject feels he *animates it.
*(Lacan, ‘The Mirror Stage’, 76).

 

The desire for identity, I have argued, is spurred by a more primary (so to) desire,… —a need,… —an unrealistic and (ultimately-finally) unrealisable hope,—for fixity *(—stasis). …

 

 

*—‘freezing’ turbulent’ movements (repress) beneath apparent… discretion of the form—the ‘contour’—of the ‘I’

 

*… —The mirror stage represents an attempt to wrest (the fiction of a) fixity-stasis (—peace and security) from the chaos of an underlying flux of movements of and within the subject (—psychological and bodily), and in(-within) its environment (surrounds-environs).

 

 

*It’s possible, then, to read (—to give an account-a reading, here, of) the origins of the ‘mirror stage’.

 

 

—In laying out this reading-account of the origins, and of the structure of the mirror stage,… I want to draw, in particular, on a key idea from the work of the Modernist critic, poet, and aesthete T.E. Hulme,… —an idea which he himself adopts(-appropriates) from the work of Wilhelm Worringer: …

 

*… —I want to examine the origins of the ‘mirror stage’—in-as a response to, following Hulme and Worringer, I’ll characterise here as

 

*—‘space fear’.

 

 

*(—I’ll adapt-be adapting here, some material from my doctoral thesis, as well as some material which I wrote (from the point-of-view (so to) of my protagonist) for my first novel: Notes of a Vanishing Quantity *(—which I’m still trying, and failing, to publish, and which my thesis and its adaptation in this blog, are intended as a kind of a… companion piece), and which I earlier adapted for the blog of an ‘early C20th political writing’ reading group of which I was a part, under the title of: towards an Ethics of Friendship. …

 

*—The material from ‘Ethics’…  places my own spin on ‘space fear’,… reading it (implicitly-by implication) with, or in terms of Nietzsche, Bergson, and Hulme on language and flux, and Nietzsche’s later doctrine of the ‘will to power’ *(—for my reading of the ‘will to power’, see elsewhere on this blog).

 

 

 

on the ‘geometric’. …
*—agoraphobia. 
—at the root (—the necessity) of art in Hulme & Worringer. …

In his account of artistic inspiration in the later ‘Modern Art and Its Philosophy’ (—a lecture to the Quest Society, London, 22nd January 1914), Modernist poet and art critic T.E. Hulme appropriates Wilhelm Worringer’s concept of ‘space-shyness’… —

The fear I mean here is mental, however, not physical […] *a kind of space-shynessin the face of the varied confusion and arbitrariness of existence. In art this state of mind results in *a desire to create a certain *|abstract geometrical shape|, which, being durable and permanent shall be a refuge from the *flux and impermanence of *outside nature.

[…]

In the reproduction of natural objects there is an attempt to *purify them of their characteristically living qualities in order to make them necessary and immovable. *The changing is translated into something fixed and necessary.

*(—in T.E, Hulme, Speculations: Essays on Humanism and the Philosophy of Art, ed. Herbert Read, with a Frontispiece and Foreword by Jacob Epstein (London: Kegan Paul, Trench, Trubner & Co., Ltd.; 1924)86)

 

For Hulme, in contrast to ‘vital’ art, which is inspired by a ‘delight in the forms of nature’,… —artistic inspiration in ‘geometric’ art *(—functioning here as a kind of pseudonym, I’d argue, for Hulme’s own conception of ‘classical’ art, which I won’t go into here… ) stems from a state of fear of the confused and arbitrary—the inchoate—flux of the phenomena of ‘outside nature’. …

 

*—This… ‘space-fear’ gives birth to a desire to imbue the flux of external phenomena with a static form, or ‘shape’.

 

Just as ‘vital’ art, for Hulme, ‘geometric’ art still aims at the reproduction of natural objects. …

 

However,… *—in ‘geometric’ art this reproduction aims to ‘purify’ phenomena, sloughing off all that is contingent in them, and drawing out all that is ‘necessary’, imbuing them with permanence and redeeming experience from its contingency.

 

Hulme’s terms are a verbatim repetition of those of Worringer. …

*—In a passage which I love… —I think it’s stunningly astute, and uncannily accurate, on the psychology of the motivation to write—to attempt to create art… —Worringer identifies ‘an immense spiritual dread of space’ at *‘the root of artistic creation’ in what he calls ‘the urge to abstraction’.

*(—Wilhelm Worringer, Abstraction and Empathy: A Contribution to the Psychology of Style, trans. Michael Bullock [London: Routledge and Kegan Paul, Ltd., 1953],—15)… —

[It is] because he [the artist of ‘abstraction’/—the abstract artist… ] stands so lost and spiritually helpless *amidst |the things of the external world|, because he experiences only obscurity and caprice in the inter-connection and flux of the phenomena of the external world, that the *urge is strong in him to *divest the things of the external world of their caprice and obscurity in the world-picture and to *impart to them a value of necessity and value of regularity. *(—18)

Worringer distinguishes this ‘fear’ in the *‘urge to abstraction’ from the *‘urge to empathy’, which, he argues, represents— *‘a happy pantheistic relationship of confidence between man and the phenomena of the external world.’ (15)

 

(hmm). …

 

 

Hulme first refers to this ‘fear’ (—agoraphobic) in ‘A Lecture on Modern Poetry’ (—c.1908). …

 

In this earlier piece, however, he relegates it to the sole possession of the ‘ancients’ and distinguishes the relativity and rejection of ‘absolute truth’ characteristic of the ‘modern spirit’. (—see T.E. Hulme: Selected Writings, ed., Patrick McGuinness, (Manchester: Carcanet Press, 1998), 59-67 [62-63])

 

—It’s not until the later piece that he fully incorporates Worringer’s conception of ‘space-fear’ into his own definition of the ‘classical’ and modern art.

*(—see Helen Carr ‘T.E. Hulme and the “Spiritual Dread of Space”’ in Edward P. Comentale and Andrzej Gasiorck, ed., T.E. Hulme and the Question of Modernism [—Aldershot, Burlington: Ashgate, 2006,—93-112 *[—esp. 103]). …

 

 

*… —to retrieve (redeem)—to save—experience, then,… —from the sense of its being inessential and lost.—without meaning or (necessary) consequence.

 

—without purpose or import.

 

—arbitrary, floating and haphazard.

 

*—infinitely replaceable.

(—nothing substantial, nothing essential, nothing that stands). …

 

—to redeem experience from the overwhelming mass—the flux—of forces (—events, possibilities, obligations-demands, desires, anxieties…), uncontrollable and vast.

(—a resentment of…).

 

—agoraphobia…

 

space-fear.

 

Hulme appropriates what he sees-defines as Worringer’s insight into what lies at the very *root of art. …

 

*—‘abstraction’.

 

—that, at ‘the root of artistic creation’, lies ‘an immense spiritual dread of space’.

(against, what Worringer calls, the ‘urge to empathy’: that ‘happy pantheistic relationship of confidence between man and the phenomena of the external world’.)

 

—gives rise (birth) to the (artistic) ‘urge to abstraction’:

Hulme-Worringer (CLUSTER)

 

—the fear of the (apparent) vastness of space (paradoxical as it might nonetheless seem) is in fact revealed as a fear-resentment of (life’s)smallness.

 

—to be overwhelmed in the face of the vastness—the vast expanse of forces (felt) in the external world, that run counter to the will—to the willed

(would will, if could.).

 

agoraphobic.

 

fear.—of an incapacity to control.—a resentment of the smallness of the lived.

(frustration the incapacity to exceed the limits of circumstance circumscribed, and realise the potential-desired, felt).

 

to be caught (inescapably) in-within the smallness of what must be lived (circumstance) at the cost of the all-else that could (—that ought?) to be lived.

 

—to fix the lived (—the impression) in a fixed form. in a form which makes (which renders) it necessary.

 

—to record the impression—atomically (—faithfully).find (to use) the precise—exact—words.

 

—qualification.

 

qualification of (the expression of) the impression.—precision-accuracy

(full—complete—honesty/accuracy.—as honest as can). …

 

—and slough off the inessential

 

to fix the core of the experience and render it sharp, hard and precise (‘geometric’).—to give it a shape.

 

make the lived necessary.—by virtue of its being a form

(existence—having existed-lived—become necessary to the creation of the form and become necessary through its own embodiment within—imbued with—the form).

 

 

to redeem (to show—to reveal—the already redemption of) the lived, in-by recognition.—of the work (—the image).—of the attempt to articulate the intuition.

 

recognition (approbation?).—to be recognised.

 

need.—to have the sense of an intuition recognised.

 

something worthy of being communicated (—set down).

 

recognition of the need (the compulsion) to set it down.

 

to create a solid, stable object that demonstrates the necessity of experience. makes experience-the lived necessary to itself,—to its own creation.

 

a yearning (—an ache) to realise and to communicate and to have that feeling-sense be recognised (and be shared-requited).

 

to be recognised as self in another-others and reflected.

 

to be known (and to be loved).

 

in-between space-fear, then, and the desire (the need) for recognition

 

—language.—flux.
—the fiction of the ‘thing’(—the ‘self’). …

an art of reading. …

 

—of the structure (—the shape) of the impression-impressions.

 

… —of the forces.—physical: movements, pressures.—of the senses: light, colour, touch, smell, sound… —of the emotional.—of connections in-of memorial-remembered (memories—conjured up, so to).

 

—of the competing impulses of which the impression is comprised-composed.—their arrangement, their relation to one another and their (relativeprominence.

 

in any given moment.

 

—all urges. drives. impulses.

 

and all compete (struggle) for balance, for clarity, for order,for dominance.

 

and the balance-order, at any one given moment, is what decides what am (to be).

 

—the ‘self’.

 

 

*—the ‘self’ (the… sense of ‘self’), then, as a fiction. …

 

—the result (the end) of a process of struggle (negotiation) of—between—drives and forces.

 

—the name (retrospective)-naming, thus, of the arrangement—the hierarchy—of forces.

 

in (within) an organism.

 

an imposition of language

 

imposed on flux

 

—a multiplicity of forces (of sub-wills).

 

projection.—a fiction of unity projected onto the flux of forces.

 

—language (linguistic).

 

—the origin and the history of a ‘thing’ (of any given thing): first, a projection—projecting back name—onto an arrangement-heirarchy of forces.

 

and second—a forgetting of (that act of) projection (that act of creation).

 

the name—the forged thing—taken to be (thereal.

(because—for Nietzsche, following Kant… —all that we can have access to and thus have knowledge of are the objects of everyday experience. because we cannot think outside the limits of our senses, we take those objects of experience to be real—in-themselves. … ).

 

any ‘thing’ in existence, then, has (must have)—come about

 

—as the result of a continuing process of naming (—names).

 

—a continual (continued,—continuing) process of being (having beeninterpreted.

 

—from the retrospective imposition of a unity (—of unities) upon the flux that flows always (anywaybeneath.

(—beneath the names).

 

upon the flux of forces.

 

—upon a (any given) quantum of reality

 

—always being appropriated and (re-)transformed…

 

—continually being undone and remade (—re-named).—re-forged

 

appropriated by (—linguistic) forces. overpowered.

 

—from without.

 

—the history, then, of any (given) ‘thing’, then, is a chain of signs (of names, of naming…).

 

always unfolding.

 

—a history, then, of *interpretations….

 

*—of adaptations. …

 

not (no, never) a progress-thus progressive.

(—no ‘goal’,—no ‘end’).

 

only ever a series (—a succession) of—mutually independent—processes.

 

—of appropriation.

 

of adaptation. …

 

exacted on the (given) quantum of reality.

(—of resistances, then, and of overpowerings).

 

 

*… —the form and the meaning of a ‘thing’ (—of any given thing), then, is fluid (always)

 

as in the process of the formation of language.

 

first: the stimulus of sense-sense-stimulus.

(a sight, a sound, a scent.—an impression)…

 

transposed-translated into a word (—sound).—from a need (felt) to discharge the (physical-physiological,—psychological) reaction to the stimulus.

(the word as a metaphor—as first metaphor—for the stimulus felt).

 

when many such similar impressions are yoked together (—grouped), under the aegis of a single word, that word becomes a concept.

 

—a name for a group—a cluster—of experiences (impressions), which serves to yoke them all together according to the similarities that they share.

(and must overlook—must elide—all the differences between them.

 

—crude (unsubtle)…).

 

the concept.—second metaphor.

(at two removes, then, from the sense-stimulus which gives birth-rise to it).

 

—the formation of the concept of the ‘leaf’…

 

—formed by discarding the differences between all (of those) individual leaves.

(—awakens the idea that, in addition to all those individual, incompatible, leaves, there exists—in nature (somehow, somewhere)—some ür,—some ideal ‘leaf’,—from which, in some way-fashion, all those other leaves,—descend

 

the (Platonic) Idea(-Form). …).

 

—‘analysis’ (—to borrow ol’ Bergson’s term). …

 

*—breaks down—fragments—its subject (—the flux) into parts-thus elements (—‘things’).—all made to participate with other fragmented elements in-under—pre-existing—concepts.

 

the break down (—breaking down) of-in-within ‘analysis’… *—art (after a fashion). …

 

 

—in the forgetting of that (act of) art (—creation)—the (mistaken) taking of the fragment-‘thing’ as-for a thing-in-itself (—as-for the real. ).

 

—the ‘self’, then.—a word. …

(—a name.—an ideal thus.—impossible to hold to,—impossible to attain identity with.—thrust upon on, thus,  from without,—in linguistic…).

 

fiction.

 

beneath the veneer, then, of (supposéd) ‘things’ (—of what we come to think of, then, as ‘experience’).—beneath the membrane (the skein) of artificial fragmented atoms—of ‘things’ in-of conceptual space, and of ‘moments’ in conceptual time—there subsists a foundation (—a substrate) of undifferentiated ‘states’.

 

—the flux of an undivided continuity of ‘states’.

 

—apparently mutually exclusive and autonomous, these ‘states’ thus nonetheless interpenetrate, enfolding (down, within themselves) all the states which led-up-to (preceded) their emergence, and, again, unfolding, ineluctably, into all those states which are to (must) follow (in the future yet). …

 

—forming, then, (justone reality, nonetheless, however paradoxical it may seem, comprised of this continual flux of successive ‘states’.

 

after a time, through habitual use (—familiarity)—convention—the concept (concepts) become empty—flat and stale—and elide (ignore) the details and the variations (—the engine of the difference) between things.

 

—no longer maintain any connection to the sense-stimulus from which they originally evolved-arose (no use value any more.—no connection to the quanta they were born to name—to which they, in effect, gave birth).

 

 

—clichés.

 

*on Lacan, then, & ‘space fear’ (—the ‘geometric’ … ). …

*Before the establishment of relations-relationships between the subject (—through the ego = “I”) and-to a world of discrete ‘things’… … *—the (‘Nietzschean’-‘Bergsonian’, so to) flux—of an undivided continuity of ‘states’. …

 

—In the face of which—in response to which—the subject feels (of necessity), then,—overwhelmed… —imperilled (threatened). …

 

—experiences *‘space fear’ (agoraphobic). …

[The abstract artist/artist of ‘abstraction’… ] experiences only obscurity and caprice in the inter-connection and flux of the phenomena of the external world, that the *urge is strong in him to *divest the things of the external world of their caprice and obscurity in the world-picture and to *impart to them a value of necessity and value of regularity. (Worringer, Abstraction and Empathy,—18)

 

—In response to ‘space fear’ (—agoraphobia)… *(… —no way to engage with-to relate to ‘outside nature’. … —no way to defend against-fend off the peril in-of chaotic flux), then,… —a necessity (felt)—an *urge—… to impart discretion upon the otherwise fearful, inchoate flux. …

 

*—the imposition of language. …

 

… —selection. … the selective culling of forces, impulses,… of—detail, from flux: highlighting—bounding round, with (an only ever apparent) contour, of some,… —the  elision or suppression of others. …

*—the creation of the fiction—the artistic projection—of ‘thinghood’ *(so to—in space, and in-of time),…

 

*—the creation of the fiction of the ‘I’. …

 

*—the divestiture of caprice, and the imparting of discretion (stasis). …

 

 

*Lacan,… and the ‘frozen’ (—‘freezes’) as opposition to ‘tubulent movements’ *(—the turbulent movements in-of the flux of the organism. … ).

 

 

—that which underpins (so to) and precipitates ‘the mirror stage’—

 

…—a… response

 

—an attempted ‘geometric’ (—the form-formal outline—contour—of the image of the body… —appropriated in-to (the artistic fictional projection of) the “I”) remedy for, the desire-need (felt) for fixity-stasis,…

 

*—the-a fear (—agoraphobic) of space, and of flux. …

 

 

*The ‘mirror stage’, then, as—the appropriation, or the… pulling, of the non-/pre-egoistic subject (so to—sic?) into extant (pre-existing) orders/structures (—the legislation, in early-Nietzschean terms) of language.

 

*as *(—the formation of)— *the I that says “I”. …

 

*—the ‘ideal I’.

 

 

I want to move on now, then,—to examine the nature of that ‘ideal’ (there) in more detail, and the way in which (I think) it can provide a hook into thinking about the *‘real’… —ontology in Lacan *(—Lacan’s ‘ontology’ … ), and can serve to qualify some of the ideas I developed in my readings of Nietzsche and Bergson on language and the nature of flux. …

 

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